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For a view of the Baltimore gable with the silver relief removed and for a discussion of the iconography of the Christ of Psalm XC, 13, see Verdier In the case of the cut-down engraved plaques of the Baltimore border, their luxuriant inhabited foliage scroll with blossoms and vigorously drawn animals fits with difficulty into any twelfth-century Mosan tradition.

Swarzenski , figs ; von Euw and Plotzek, , pp. Jahrhundert, II, Berlin, , p. It may well be that the Baltimore plaques were more than a century old when they were cut down for reuse. Circumstantial evidence strongly suggests that this was a twelfth-century shrine of St Oda at Amay, near Huy. Oda was a rich widow, whose thirteenth-century Vita places her as founder in the seventh century of a number of churches dedicated to St George in the region of Huy.

Her body was buried at Amay, where her carved sarcophagus has recently been rediscovered in the church. There she is also shown between the two Virtues of Religion and Alms-Giving, in a three-figure composition current in Mosan art of the twelfth century, e. Thus, prima facie there is every likelihood that the gables come from St Oda's twelfth-century shrine at Amay. However, the circumstantial evidence goes still further in establishing Amay's claim to the gables. The presence of a relic of St Mengold is evidence for an origin local to Huy, which is only a few miles from Amay.

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Secondly, the relic of St Elisabeth of Thuringia, who was canonised in and whose body was exhumed and translated at Marburg in , provides a terminus post quern for the insertion of the relics in the two gables. All the relic tituli are of one date and written in the same hand, which was dated independently to the thirteenth century by both the late Julian Brown in an unpublished letter of in the Luton Hoo archives and by Jacques Stiennon quoted in Lemeunier , p.

Thus, some time after relics were inserted in the two gables and this must have been the moment when the gables were detached from the rest of the shrine and became independent suspended reliquaries as the big early suspension ring on the back of this object proves ; cf. It can be no coincidence that the shrine of St Oda, still at Amay, is a work of c. Its creation in the s seems to have led to the breaking-up of the Romanesque shrine and the employment of its two gables as independent reliquaries.

The fashion for displaying relics through crystal or glass becomes widespread in Europe at precisely this time, around the middle years of the thirteenth century, as we can see in the reliquaries produced in Paris and in the Limoges workshops, and the adaptation of the gables of the St Oda shrine to display relics, must be seen as part of this development see Joseph Braun, Die Reliquiare des christlichen Kultes und ihre Entwicklung, Freiburg im Br.

The strips of gilt-copper decorated with lozenges and used to mask the edge of the central niche on the Baltimore gable appear to be thirteenth-century and therefore probably also belong to the moment when the gables became reliquaries cf. At the same time the replacement plaque at the apex of the Baltimore gable was inserted, since it too is of brass.

The other mends to the outer border in Baltimore and to a section of the stamped gilt-copper inner border are extremely 'archaeological', and therefore probably nineteenth-century.


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If this reconstruction of the history of the gables is correct, then it becomes possible to examine them in the context of Mosan art of the middle years of the twelfth century. As for this goldsmith's style and the range of his technical apparatus, the following may be said. Anstoss und Wirkung, Sigmaringen, , pp. For the various other sources, see Verdier , pp. Series V, tomus 1, Stuttgart, , pp. The same goldsmith was responsible for the St Mengold reliefs and the St Oda gable. By analogy, the latter can therefore be tentatively dated c.

Whether or not the goldsmith in question can be identified with the celebrated Godefroy of Huy is quite another matter. An entry of c. November - see recently Kroos , p. This is hardly sufficient evidence for attributing the St Mengold shrine to Godefroy of Huy, but legends die hard the texts relating to the two Huy shrines were studied by Philippe George in at the fifth British Museum Medieval Enamel Colloquium and his full publication is awaited; meanwhile, see George , p.

The date of the Maastricht shrine may be somewhat later, perhaps c. The minor decorative details of the Baltimore and British Museum gables are highly revealing. Lemeunier, in ed. Verdier , pp. Vernis brun was particularly fashionable with the Mosan goldsmiths of the middle to the third quarter of the twelfth century. The vernis brun designs on the gables have several important parallels.

shrine; reliquary; relic | British Museum

V2 , pls. Again at Maastricht, the vernis brun designs on the side of a purse-shaped reliquary, and at Tongres on the reverse of a Holy Cross reliquary belong to this group. As for the stamped copper-gilt foliage ornament of the inner borders of the two gables, there are again numerous parallels, e. However, Lemeunier was the first to suggest that the very same matrix was used to stamp the gilt-copper border strips around the central field of the enamelled triptych of St Andrew now in the Cathedral Treasury at Trier see Collon-Gevaert , p.

The Trier stamped border which today surrounds a seventeenth-century image, has a slightly different edge where a well-defined groove separates the beading from the foliage the edges were presumably executed after the foliage pattern had been stamped. The foliage pattern itself can now be proved to be identical with that of the St Oda gable. Detailed measurements confirm this: in each case the width of a single palmette is mm and its height 23 mm information on the Trier border - Dr Franz Ronig.

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This important observation implies that the Trier triptych shares a common workshop origin with the St Oda shrine from Amay, something that would never have been suspected on the basis of the enamels of the wings of the Trier triptych, which appear rather to be related to those of the London-Berlin cross see registration no.

As with the vexed question of model-books and their dissemination see particularly registration nos. It is tempting on the basis of a detailed comparison of the London and Trier palmette borders to suggest that the London border was stamped when the matrix was more worn, i. Victor Gay - H. For a discussion on the longevity and dissemination of such matrices, see Walter Schulten, in Catalogue Rhein und Maas , I, pp.

See also Didier , p. Therefore, yet again these two works are closely related in their detail to the London and Baltimore gables. Also strikingly similar were the lost enamels of the Mosan gabled diptych, formerly at Montierender Haute-Marne , some 60 km north-east of Troyes in Champagne. Judging by these eighteenth-century visual sources, both the geometric and trellis patterns of the Amay gable enamels were virtually duplicated at Montierender, where they were accompanied by gem- or crystal- or silver ball-set panels on the borders ; these had backgrounds which were either hatched, sometimes with sunk concave roundels, or engraved with foliage scrolls the drawing could be a representation of filigree, or of engraved foliage cf.


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  • It is also worth noting that some of the Montierender enamels were 'paired' like the Amay enamels. Their context is also virtually identical, since the enamels form part of the same plaque with the same beaded edges as the hatched rectangular areas with sunk concave roundels and silver balls; the only difference is that the central crystal in London is replaced by an enamelled quatrefoil in Paris.

    Rhein und Maas , I, p. It is clear therefore that the enamels of the Charlemagne reliquary must be of approximately the same date and from the same workshop as the Amay shrine. See also Usener , pp. The consistent repertoire of this workshop implies a relative stability of personnel, perhaps over a fairly short period of time, a consistency which is only questionable in the case of the St Andrew triptych now in Trier, where the same matrix can be proved to have been used on an object whose figured enamels find no parallel among the other productions of the workshop.

    Robinson, F. IX , avril-septembre , pp. See: Schubert , p, fig. XXXIV, p IX, no tix , pp Volume II. Associated names Representation of: St Oda. Acquisition name Bequeathed by: Sir Harold Wernher. Acquisition date First recorded in in the collection of Hollingworth Magniac, esq. Subsequently A. Tollin collection; J. Seligman; Sir Julius Wernher, Bt. From a twelfth-century shrine of St Oda, formerly at Amay Belgium. This constituted 1. Two-thirds of the couples were male and one-third female. On 22 July , the Belgian Government announced that a total of 2, same-sex marriages had taken place in the country since the extension of marriage rights two years earlier.

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